Almost Perfect

This installation positioned various areas to reflect into one another incorporating the viewer's presence. It explored how the regulatory premises of how surfaces and objects are arranged subject to their architectural framework as inherently explicit, and yet within that, visible potentials can be both relational and malleable. As light shifted, appearances projected, refracted, retreated, and repositioned. These different points of contact formed a participatory dialogue with gallery visitors and among the objects themselves.

The Tomb

This exhibition offered a place of respite to contemplate dislocation of memory. A tomb is a site for remembrance and longing; a projection of what once was and an effort to preserve what is eternally embedded within. Light and shadow have a metaphorical connection to temporal presence and material loss. As light permeates reflective surfaces, spatial relationships are made malleable and fleeting, resulting in unstable moments that essentially disappear.What is buried in thetomb? Are the walls of thetomb history? What can we understand about the anticipatory foreboding in the idea of a tomb? Can feelings be unfettered there?

Odd Sods

2016

Fortune Gallery, HQ Objective, Portland, OR

Materials: Diachroic film, Plexiglas, Adhesive Vinyl

This project studied potential singularities and collectivities experienced in the façade, or signature, of surfaces. Populated by a variety of material constituents exposed to shifting conditions of natural and artificial light, the gallery interior is treated as a receptacle for unstable moments. Reflective surfaces contain, mirror and redirect varying degrees of illumination unfolding throughout the day, and are subjected to forms of activation from streetlights, signs and the headlights of passing vehicles in the evening.

Blumel Hall, PSU

This project was a commissioned Public Art piece by PSU administered through the Oregon Arts Commission. It engaged residents of Blumel Hall with an interactive window installation that changes depending on light conditions and the way the blinds are operated by residents.

Less The Distance

This sculptural installation activated light entering from the skylights with a variety of reflective and translucent surfaces. Fastened from above with colored string and clips and propelled by a fan, the pieces gently rotated to cause various reflective interactions with one another and with viewers. This project was curated by Rachel Adams.

The Lines Along Which Anything Lies

This exhibition featured multiple areas activated by timed light and reflective surfaces. LED lights covered with, or reflecting from, dichroic film cast projected color gradients and refractive light according to the timers (each piece switched on an off at variable times every few minutes). Fans placed along the ceiling caused suspended film to rotate light around the space. Certain areas were treated with phosphorescent paint that would glow in the dark when all the timed lights shut off at the same time.

Reflector

This project traced and reflected natural sunlight from three large historic windows onto a facing wall and floor. This project was part of the 2014 Art Department Faculty Exhibition and was supported by funding from the Regional Arts and Culture Council.

Substance Dreams of Form

This installation was part of a four-person exhibition "The Lathe of Heaven" curated by Josephine Zarkovich inspired by and titled after the science fiction novel by Ursula K. LeGuin. Colored light reflections and shadows created by LED spotlights, colored gels and silver mylar attached to a ceiling beam. Hand built electronic timer boards turned each light on and off at various intervals, causing changing sequences and combinations of overlapping light, color and shadow.

This exhibition also featured artists Damien Gilley, Daniel J. Glendening, and Jordan Tull.

Light Box

A video sequence of images of the space beyond the gallery wall was captured at three different times of day, fading slowly to black between transisitions. The projection exposed a wall treated with phosphorescent paint so that the detail of the images was retained in the surface of the wall as the video faded to black: glowing in the dark as the only light source.

This exhibition was supported by the Regional Arts & Culture Council and the Canada Council for the Arts.

A video of slowly dissolving color transitions was projected onto a prismatic vinyl circle applied to the wall, refracting onto a painted circle of interference acrylic paint in the corner of the room.

10th Northwest Biennial

ite-specific installation for the "10th Northwest Biennial" curated by Rock Hushka and Renato Rodrigues da Silva. This project captured and responded to instances of sunlight entering from the large walls of windows surrounding the courtyard of the Tacoma Art Museum, designed by architect Antoine Predock. Iridescent paint shifted color and tonality as light conditions caused areas to range from barely visible to highly reflective. It incorporated shadows and reflections from Allison Hyde's outdoor installation of stacked old furniture, and Richard Rhoades permanent installation "Stone Wave".

Lightbeams 2

ite-specific installation for "Body of Knowledge: Vision" curated by Research Club. This installation consisted of prismatic vinyl emulating long patches of sunlight coming in through nearby windows stretching across the room creating shifting color interactions and diffractions as the viewer moved throughout the room. The intensity and angle of these effects changed as the sun's angle and duration shifted over the summer solstice.

Lightbeams 1

ite-specific installation for "Body of Knowledge: Vision" curated by Research Club. This installation consisted of prismatic vinyl emulating patches of sunlight coming in through the loading dock area of the Ford Building. Bright rainbows became visible across the ceiling and walls throughout the afternoon varying in intensity by the amount of reflected sunlight.

The Remainder

This project featured a yellow LP gently turning from the wind of a fan against a spotlight creating an artificial sunshine effect while casting fragments of giant yellow shadow orbs throughout the two rooms of the gallery. TV monitors facing a corner playing old VHS movies through a color gradiation, and other various interventions in the space. Part of “ON&ON&ON”, this exhibition curated by MK Guth featured 5 artists who were given a collection of pre-determined materials purchased at the Goodwill bins to work with in turn based on the previous artist’s response in whatever condition they were left.